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Gilberto Gil and Devendra Banhart Bowl
Them Over
Posted Jul 8th 2008 11:00AM by Steve Hochman
Filed under. Around the World
It was an odd scene one recent evening. The
Brazilian Minister of Culture - a graying but
robust man in his 60s - danced frenetically,
goofily with a 20-something longhaired,
bearded American hippie. Both flailed their legs
and arms, both flashed huge grins and sparkly
eyes, exuding pure joy, and then walked away,
arms around each other into the night
Unusual? Maybe. But not entirely, given the
setting. On stage at the Hollywood Bowl in
front of a delighted crowd of more than 12,000
people, most of them dancing along. This sort
of tableau is exactly the kind of thing the
people at the Bowl have tried to make routine
for a decade now since founding the World
Festival, an annual series put on in association
with noted non-commercial radio station
KCRW-FM in Santa Monica. The dancing fools this night were the evening's headliners
Brazilian great Gilberto Gil -- co-founder with Caetano Veloso and others of the '60s
tropicalista movement, jailed and exiled as a dissident and now for the last five years his
government's culture czar -- and Devendra Banhart -- the young prince of what has been
described variously as Freak Folk and New Weird (or Wyrd) America, though truth be
told he reaches well beyond those labels
"The idea is that music is global," says Laura Connelly, director of presentations for the
Los Angeles Philharmonic Association and the creator of this series, who before the
show said that her wish was that the two would join together on stage. "Most musicians
are worldly in their outlook. We wanted to find ways to expose these connections and
also bring artists together, not necessarily that there is a direct correlation, not that so
and-so is definitely influenced by X. But we just start with this huge wish list and say,
'Wouldn't it be great to combine...."
So Banhart coming to help Gil and his band on the night's closing number, 'Nos
Barracos da Cidade,' was a serious treat. But frankly, despite the surface strangeness,
the connection this night was pretty direct. Banhart spent part of his childhood in
Venezuela, where is mother is from, and has often showed inspiration from South
American music, particularly on several tracks of his most recent album, 2007's 'Smoky
Rolls Down Thunder Canyon.
And it wasn't the only connection he was part of this night. The other side of his musical
spectrum was also represented in the opening act, with Mike Heron -- co-founder of
Scotland's '60s psychedelic folkies the Incredible String Band, and therefore a founder of
the whole psychedelic folk movement that Banhart references liberally in his music --
guested with the opening act, San Diego band the Autumn Leaf (which at the moment
included Heron's daughter Georgia in its shifting lineup).
Banhart seemed to take seriously his role as fulcrum between two iconic artists
separated by geography and culture, but clearly shown here, not by spint. His set started
with a few very playful numbers (the opening 'Little Yellow Spider in particular) that
played very well off of Heron's performance of ISB favorites 'Air,' a prayerful Worlds
They Rise and Fall' and fittingly continuity-themed 'The Circle Is Unbroken.' From there
Banhart edged toward Gil's pan-Latinisms with 'Samba Vexillographical and his churning
closer, Carmensita' Gil for his part took those elements and explored even further
Threading through his set was a mini history lesson on Brazilian music (remember, he is
the Minister of Culture), from pre-contact dances to African and European infusions to
bossa nova and forró to his own contributions of psychedelic and progressive
Tropicalismo sounds. Even the over-heard standard 'The Girl From Ipanemal in the
original Portuguese as 'Garota de Ipanema') took a fresh turn, and his two Bob Marley
tributes ('Three Little Birds' as Three Little Siros' and the herb ode 'Kaya") were given
Gil-ian twists, notably his sudden and seemingly spontaneous vocal yelps punctuating
BLACK VOICES ASYLUM
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